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Pringles Challenge 2009

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Chinese Eyes
tired in that bed I'm thinking that got me

Yet

A little thing is not that bed
Out
grave And I fall
Without saying those things important

And now I forget.

Because of you I can leave this world
Silent and Chinese eye

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Chinese Eyes Triptych by 24


Missing Someone


lack at home is a picture I spent
A sign in the plaza
A memory in the newspaper
Someone is missing from the house
And new photos
Your child does not know
Y his mother dreams
Thirty years ago
With a morning like this when she


returns.




repressor

The guy is very formal family dinner

religious school their children at mass
Help
today killed one at a table of torture

but is quiet
Someone should do

plus God is on their side.





We did not know did not want to know

Isabel was a disaster

Terrorism Military
We are serious lack
order
When we took the band went

Incredulous Democrats Shocked

Luckily
To us

not happened to us.
/




On 24 March 1976 I was eleven and I remember well that most people were happy with the coup. Would that not happen anymore.

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Three years


Hace exactamente tres años nacía La Menor Idea. Efectivamente, el 16 de marzo de 2.008 publicamos una Guía para tomar café , y de apuro designamos como correo electrónico del blog a guiacafe@gmail.com , quedando condenados al eterno malentendido de ser sospechados como agentes comerciales de Café de Colombia o Café do Brasil, lo cual no es cierto: sólo ocurrió que no habíamos pensado en un mail "ad hoc"

Lo cierto es que hace 1.095 días (más algún bisiesto si lo hubo) que aquí estamos, haciendo L.M.I., acompañándolos con escasos aciertos and accurate mistakes, but always with his head held high.

For all our fans (211 registered according to the statistics, but I at every corner I turn in a gesture of Christ to see if any of them following me and all) our thanks with tears in his eyes. We

oath in front of a picture of Gardel to keep trying to make them laugh and mourn, and if they sometimes produce the opposite effect (laughing face a serious or crying in front of a pass play) does not matter, because life is like and the only thing we want is to delay the glaciers of oblivion.

way of forgetting, a monitor points us we made an unforgivable mistake, because today is March 16 but 21. Nor does it matter! We will celebrate now, because the 3 is a number that we love.

HEALTH, FRIENDS idea!

Pudding A La Protéine

The house moves ( Gustavo Hernández, 2010)

"What did they do?"

The latest great news from the Uruguayan film industry, at least in terms of media coverage, did not come from both hands large festivals (as was the participation in Whisky Cannes, or the Silver Bear Giant ), for their technical achievements somehow entering a category linked to the records and figures that the jurors and critics. All more or less know the first major statement: millionaire hiring Federico Alvarez, sponsored by Sam Raimi, having made the short panic attack, a video with visual results of the highest commercial film with a budget of three hundred dollars. Now it moves The house, horror movie that has among its special technical features have been filmed in a real-time and on one sequence shot, the seventy-two minutes elapsed in the life of a beleaguered protagonist in a house bricked up inside. Bridging the gap (both thematic and stylistic), the idea had been worked by Sokurov in Russian Ark, but one of the main hooks of Uruguayan film was not only the spice of "terror in real time," but a Again, the merit of doing much with little: the movie only cost six thousand dollars, and was filmed with a digital camera photo, being only the second film in the world to be filmed with such a device. As soon as word spread, a U.S. study bought the idea and everything seems to be an American movie that takes elements of the Uruguayan, possibly technical, though not quite know what aspects of the theme.

All this is at the very edge of what may be an analysis of the film, something more commonly seen in press releases that film criticism itself. Being

preceded by a great heir of Edgar Allan Poe as Horacio Quiroga, draws attention to how the cinema of horror or terror Uruguayan always had himself a great, or at least decent movie of this genre. Several examples were provided, but generally failed, naive, or at the edge of amateurism (remember the werewolf Plenilunio wadding, Ricardo Islas), usually distributed in VHS, or gender played at festivals rather prone to the bizarre. In this sense, the house move resumed, in a way, the post opened with the television program Anonymous voices (somewhat irregular series in technical as in the narrative, but weighty in its original idea, and effective in some individual chapters), using free recreation of an event and chronic enigmatic Uruguayan red. The film focuses on a gruesome fact registered in Godoy, Uruguay, by the 44 years' , where they met in a house bricked a number of mutilated bodies, accompanied by a lot of photographic material was spread on the scene, but was not sufficient to conclude any investigation.

The Wizard Luque

The camera in hand (with an ocher filters, which give a field that area look more rundown yet) is a character himself in the film, starting at the beginning as a voyeur of Laura, as if the very presence of the house to follow her on the sly, cornering in small spaces with moments in which the protagonist could reach almost smell the breath of the observer on the edge of the neck. In a film in one take, handling and travel times (and, to complete the ordeal, the complex play of light, considering that almost the entire movie takes place in a walled house, lit only by a series lanterns) calls technical team skill bordering on choreography. In these senses, Pedro Luque (director of photography for the film) may have to move house as the thesis film, being the culmination of a professional and artistic process itself has grown by leaps and bounds. The first two thirds of the film are impeccable, with a solid command of the pulse and the suspense and action points giving the blind and starts (so bastardized in the current horror films) a new use, or at least a technical expertise not seen in almost any contemporary film. This is like the first part slasher film: Two people enter a house boarded up, where someone or something that could take him as a hunter. Effective and forceful, often seen between the crack of the fingers, the film picks up (or opened, at least in the cinema) the horror of the deep interior, simple but paradigmatic fear that in the middle of nowhere no one can hear you scream.

The damn nut

But then the unthinkable happens. Already well into the film, the story begins to hit a twist on that difficult to understand us at first and then we have difficulty in converting the film, the plot and our expectations for something completely different from what came to be. In the horror film, the twists are what history is a pentatonic blues, we can cite as initiation of this style film The Cabinet of Dr. Caligary , as well as psychosis , or the most bizarre Sleepaway Camp. However, certain logic, the crux of the issue with the famous twist, not so much the immediate effect of glare from the viewer, but the reconstruction that allows the same make of what happened. Thus, the grace of twist is how the film continues to operate long after the film ended in a sort of communion between magician and apprentice. However, in The house moves, not only is there nothing that allows the viewer to anticipate what will happen, and therefore return to their own footprints, "but, given the changed circumstances, are generated huge holes in the script review are like a tower of Yenga which collapses completely. Would be difficult to fully explain the reasons for these errors without revealing further details of the permissible, but there are plenty of situations that do not set, which arguably-disoriented in the bad sense, or at least to them, should require a forcing a certain type of ad hoc explanations that would be fed artificial. It really is a shame and folly what happens after the twist, with a script trying to integrate a subplot that does not fit in any way with the footage, and, worse, left no room for imagination viewer, introducing an epilogue between redemptive quiroguiano that the viewer is stupid (condescendingly in this second sense, sadistically for the first time.)

Actually, at times, the "what you did," he repeats once more the protagonist should do it to a film if it had followed the easier path, to Tobe Hooper and not so much what might have Shyalaman left a wedge in the history of film may not only Uruguay, but also internationally.

The modesty Madit

These errors writers it adds another array rather ideological. At one point, the house shows a lot of photos of what appear to be holding orgies that were previously there. The tone vintage polaroid photos look more tempting true aesthetic universe of current indie picture of the reality of a dweller in a poor house in the countryside (the polaroid are so expensive and hard to get in Uruguay). Let's leave aside the latter, considering that perhaps the filmmakers were not interested in making a film focused on Uruguay, but in a field rather indefinite. What really annoyed of this detail are two points. The first, recital held orgies rather sleazy tone in a home made ball in the middle of nowhere (at least the back of the house in the pictures not look like a mansion in Punta del Este), one would expect to accompany such material photographed female aesthetic. Completely on the contrary, the girls are pictured are too cute, too cool , some on the edge of the pin-up, to imagine in such raids. You know the guys who took the photos do not have the wave, beauty, or twine to have these girls doing those things in that house. And secondly and more importantly, how can it be that the lot of the photos displayed in the film appears not even a tit? For anyone who has visto fotos de orgías amateur, sabe que lo que menos hay en las mismas es espacio a la imaginación. Por el contrario, todo es demasiado estilizado, demasiado “cuidado” y arty como para unos bufarras del medio del campo. Cabe decir que si se hubiera preferido mantener un tono más leve, sencillamente se podría haber insinuado la existencia de dichas fotos, no era tan difícil. Si entrás a la pista tenés que bailar, no te metas a introducir sub-tramas en las que no estás a la altura de las consecuencias.

Lo que queda de La casa muda es el misterio, no el misterio presentado en la misma película, sino el misterio de qué pasó y qué podría have been if they had taken other decisions.

Published in The Daily on March 21, 2011

Poptropica Counterfiet Island Dragon Papers

idea Luna Close

I asked the moon to take
The sorrows, fears

Impossible Desires and they hurt

And while it seems to me asked

That begged the moon to the sun That will take


His sorrows, fears, desires

Its Impossible. I think the sun


the poor sun! Nothing

accurate and only turns
The fires every day

Without feeling.

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fly soup in Hiroshima


Disgusted receive your meal with unmistakable traces of soup, the fly was sworn never to return, but never again, that damn restaurant.

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La Rosa de Hiroshima

Again I wonder if a survivor of that will be viewing this

man learns nothing

cracks closed doors covered
And Wisdom East?

If that happened beyond what we could happen to us,
the barbarians?
man learns nothing
The great powers are
Or do they run
To review what was right rather
Supposedly
man learns nothing
Nobody is out, no one is safe
No one is exempt
We're children playing with Worse
knives
Those who play are cute.

.

2004 Open Rad Travel Trailer

Die Like a Man (Joao Pedro Rodrigues, 2009)

The queen is dead

The first scene is disconcerting, but somehow First unmount all the machinery that drives die like a man. First, we see the expressionless face of a permanent character being camouflaged by a mechanical hand and dismissive. Then, we see that young man crawling through a thick forest with a fellow soldier, pushing through the night. We do not understand if they are in a war, if it is only a simulacrum, or what historical moment the film is based, but soon we find that the two young soldiers find a quiet corner and covered and shipped in a sexual act hastily. The camera, true to the style that characterizes it, remains in a suspended state, focusing on parts, cutting the bodies or the environment in detail. Once the young end, cut through the clearing and encounter a strange, bright house in which there are two transvestites composing a theme on the piano. The view from afar, from the other side of the window, completely mesmerized. Suddenly, one of the voyeurs you tells the other that those should be friends of his father and in a thoughtless fit of anger the other says "my father is dead" and shoots him, nothing more.

The next scene, we start from what looks like a jungle, but ends up being a greenhouse, according to this system of linkages with starting the film, a constant game of scale, with households package that appears in the middle of a battlefield, with songs sung in lip sync with total feeling (the scene of the black drag queen singing "Total eclipse of the heart" like the Bonnie Tyler herself, until it cuts the music and hear his real voice dissonant) with death and sex sniffing each other's tails.

Joao Pedro Rodrigues Tonia carries the story of a transvestite willing to change their sex to satisfy Rosario, designer boyfriend with serious drug problems who establishes a relationship of love and patronage always on the verge of dissolution. Lisbon, away from the classic images of the beautiful port, is a twilight world, cold, empty moments. Turning to the scales, we only see, there is only Tonia world: fellow clubhouse (between drags and sadomasochistic model sheathed in latex), hairdressers transvestites, or his own son (who at the time is revealed as the soldier who started the film). The rest of the world, as taxi drivers or bystanders, not shown, or more precisely, does not exist.

Lisbon twilight This speaks of the vital status of the protagonist himself, who not only is a bit old and outdated in the theater where he built himself, but one of her silicone implants had initiated an infection that his body is taking . The plot of the last days of a transvestite does not seem exactly the most encouraging of the plots, but the movie was filmed, not tragicomic key (as said by all sides), but for an idea about life and death inherent kitsch and melodrama opens and transforms in many ways, such as that paper penis vulva become a sublime demonstration of origami that makes a doctor at the beginning of the film. What we see is not tragedy or comedy, it's life, but not "life itself", for which we could think of a realistic format, but life shot from his passions, from its high peaks and lows, drama and happiness burning skin, something beyond the same director and that puts his work in the line of characters like Fassbinder or Pedro Lemebel, rather than with Almodovar, who could not yield to the temptation to show Tonia shine on stage candles up his stage presence, while not afraid to Portuguese pulse and left out of the spotlight, only show after racks, or in taxis alone. Rodrigues, as Fassbinder is merciless, with both joy and with sadness.

Another clear example of this notion of reality and unreality occurs at almost half the movie, where Tonia and Rosario, taking a diversion through the woods to the house are insulated from Maria Bekker (which is apparently a well-known television personality in Portugal), almost full circle, which are immediately welcome. Everything that happens there, from the tomb of the unknown soldier, to the hunting scene of fireflies (with a bucolic frolic boundary between 's Dream A Midsummer Night , Shakespeare and Food on the grass - Jean Renoir, 1959), or the sequence shot of Baby Dee song red filter is surrounded by a magical aura, so different everything that was happening, which may well not have occurred, or at least have happened in a corner of the soul of Tonia, as a quiet requiem before his death.

All this is powered by a superb art direction, with a camera that has the same love fetish objects declared to the same characters or, as it were, the whole queer cosmogony. As all that Tonia buried for his dog in the garden, whether a Swede, a toy machine gun, a zipper, a bouquet of forget-me, a gold rosary, an extension of a wig, is much more than an accessory, is a covenant, a way to find the tragedy in the trivial and the banal in the tragedy, to save themselves in the glare of the object, a surf board to drift down the river Acheron without wetting stilettos.

Vinyl Oval Table Clouth

call you tonight to hang out


There is a strange place I looked at that I want to take

Because it is mysterious
As you

We would take something in the dark we lose
And then we would call you tonight


But I'm a terrible laziness
And over there are soccer
On TV

Wedding Dance Help Mod

call you back

the essence ago the return of the city's essence, but never been out of Buenos Aires. Menárdez not left his neighborhood or in your corner, or coffee. And yet it was not. Street was not in Honduras. It was not in Serrano. It was not in the square. You can not explain it because, as we say, never left Palermo. His spirit left him for a long time and know that without it there is nobody, nobody is. But now feels that he's back. Walking around your neighborhood note that everything is the same but different. The crazy cat sees it slightly changed. In their cats too. Carriego's house abandoned it occurs more than before. It was not nothing but time. Nothing less. And Borgesian landscapes seem to be seen only by him

"and saw the depth
the cards
colors of the sunset and felt Buenos Aires.
This city that I thought my past
is my future, my present;
The years I lived in Europe are fictitious
I was always (and will) in Buenos Aires "
Menárdez not live
in Europe. Or in another city. Or in another neighborhood. But walking through the streets of Palermo as the first time. Survive kept him outside, away, forgotten. Not anymore. Comes with a desire to take the cards in colors of the sunset (that which remains, miraculously) and stake everything, even if you have anything from a gin in the corner of Guatemala and Borges. Palermo walking with her.

She who has not yet arrived.



The verses are in "Arrabal" by Jorge Luis Borges.

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Menárdez and Scars

I saw her in the darkest bar and liked it. After a while I noticed a small scar near his eyebrow. I liked. To me, that I know of scars, it seemed that instead of make it ugly, that little oblique groove on the temple made it more human, more beautiful, more everything. We talk a lot and then when we sit in a quieter location for the arrival of the hugs, I succumbed to the temptation to kiss the scar first. She said a barely audible "ouch", and asked forgiveness if he had hurt.

- Yes, it hurt me, "she said but not in the way you think. Not that I was hurt by this scar. Occasionally I meet a guy who becomes obsessed with her and do not understand why I think sometimes they think that with that kiss imagine forgiving a shady past, or maybe a lot of suffering. Even some did so with tears in their eyes, or broken words, like you. And what really happened is that I fell off the bike girl, I cried a little and nothing else. It never fails that I think of those guys: they are idiots. And do not think you're the exception.

When the waiter arrived with the two beers she was gone. As I took the first I tried to remember what had happened from the kiss in the scar. When I got it, I said something a little more intense than idiot and proceeded to drink up the second. Among the flood of people at the bar I found a beautiful girl smiling at me. I also found that the wall was slightly tilted. I left the bar running, of course. Because my way is full of stones cloned, but before the third beer I always try to avoid them.

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Hey Ladies! - Lady (Feel Water, 2011) Secrets

Applied

A curiosity that the prospect of living in 2011 to perceive is that, unlike the seventies or eighties, the nineties was a decade never completely died. Every decade in general is negated by the subsequent period of ten years was eventually shortened to the range of six or seven years. Today, as an outmoded could remember is that style of nu metal for a moment that touched some popularity in the Uruguayan scene (was Cleptodonte-rather with a metal-funk, best known for that song of 104, and the list I would add others, such as Cave Canem, which is actually higher). However, after the period of ostracism typical of this impasse, there is the review of the past decade, often in a sincere way, sometimes in a parody (think of the revival of the eighties, which makes a years ago were unthinkable and were gradually taking over areas of advertising, fashion and music Uruguayan and international). But nineties, Uruguay, in its way followed his caminoo, like an elephant that breaks sleepwalking through the remains of ivory. They never stopped having bands devoted to Nirvana, today's tribute to Kurt Cobain touches and cia are thoroughly carried out by bands such as dizziness. Even Goodfellas, possibly the most important indie band in Uruguay, is a direct descendant of the years of Big Muff, beyond all the transformations and innovations that were giving over the years.

is in this tradition que entra Señora , disco debut de las Hey ladies!, una banda íntegramente conformada por mujeres, que registra en su sonido un puente directo y sin concesiones al sonido de la época mencionada. Desde el comienzo de “Parque acuático”, vemos el pulso impasivo, semi distorsionado, pero a la vez melódico de la guitarra, un estilo que podía percibirse en el Rid of me , de Pj Harvey (de hecho, casi la totalidad de los temas de Señora están completamente arados por la guitarra, la cual aparece siempre sola al inicio, como marcando el tiempo o el ritmo, en algotan ritualístico como el grito clásico de “one, two, three, tour”). Sin Far from the fury of Polly Jean, the voice of Maria Laura Prig is more friendly, more committed to the melody, like a relaxed version of Kim Deal in The Breeders (possibly the most notorious band in the sound of Hey Ladies!). The letters also choose anger, emotional Apostilles still marked by ruptures or romances, but picked up by a half-tone chabacán and everyday, mate and coffee, which, from time to time, comes to interesting findings. Example of this is found in verses as "I will be waiting for me, as a naba" (in more places), "your banana gum, we note in passing that you're a banana, can not so much "(in Banana, perhaps the greatest success of the entire disk). The character who embodies prig, is often an angry person, you can not, despite his attempt to become pregnant at all. It is in this ambiguity that Banana is such a good topic. Returning

this regard, the vocalist is internally consistent style with these decisions, but still lacks a plus to do it really interesting. Perhaps the voice sounds too dry, being able to have opted in production for a filter that would give more body, or can they at times sought the melodies are not the most appropriate for recording the vocals.

The most successful of the entire album is possibly the game's guitars, which are also very cleverly recorded (with which, more than ninety-known reference by the wall of sound classic Sonic Youth-Lady achieved in separated and their mixture, listening on the headphones as if you were at the center of a star, with each of its points sounding somewhat far apart.) In this regard stylistic recognize all the major sprints at the time played with cunning, the crescendos and distorted intro to Sonic Youth in "What is" e "Intromental" respectively, the fundamental game between bass and drums of the Pixies in "Interstellar", or the sound of Sebadoh at the entrance and exit of certain instruments. It is noted that the Hey ladies! well understood this and shaped it into a disc with some themes consistent with the possibility of hit. Still, Mrs. ends resulting in the final folder aplicadísimo a student, but too stuck to the notes of his former teachers to have that plus able to make it a memorable work.

Posted in Daily on March 4, 2011